(2004), Nagesh Kukunoor's 3 Deewarein (2003) and Dor (2006), Manish Jha's Matrubhoomi (2004), Sudhir Mishra's Hazaaron Khwaishein Aisi (2005), Jahnu Barua's Maine Gandhi Ko Nahin Mara (2005), Pan Nalin's Valley of Flowers (2006), Onir's My Brother… Nikhil (2005) and Bas Ek Pal (2006), Anurag Kashyap's Black Friday (2007), Vikramaditya Motwane's Udaan (2009), Kiran Rao's Dhobi Ghat (2010), Amit Dutta's Sonchidi (2011), and Anand Gandhi's Ship of Theseus (2013). Independent films spoken in Indian English include Revathi's Mitr, My Friend (2002), Aparna Sen's Mr. and Mrs. Iyer (2002) and 15 Park Avenue (2006), Homi Adajania's Being Cyrus (2006), Rituparno Ghosh's The Last Lear (2007), and Sooni Taraporevala's Little Zizou (2009). Some of the Indian art film directors active today include Buddhadeb Dasgupta, Aparna Sen, Gautam Ghose, Sandip Ray (Satyajit Ray's son), Kaushik Ganguly, Suman Mukhopadhyay, Kamaleshwar Mukherjee and Soukarya Ghosal in Bengali cinema; Adoor Gopalakrishnan, Shaji N. Karun, T. V. Chandran, M.P. Sukumaran Nair, Shyamaprasad, Dr. Biju and Sanal Kumar Sasidharan in Malayalam cinema; Kumar Shahani, Ketan Mehta, Govind Nihalani, Shyam Benegal, Amit Dutta, Manish Jha, Ashim Ahluwalia, Mudasir Dar, Anurag Kashyap, Anand Gandhi, and Deepa Mehta in Hindi Cinema; Mani Ratnam and Bala in Tamil, Rajnesh Domalpalli and Narasimha Nandi in Telugu cinema, Jahnu Barua in Hindi cinema and Assamese Cinema, Amol Palekar, Umesh Vinayak Kulkarni in Marathi Cinema and Amartya Bhattacharyya who makes independent films in Odia and Bengali. Aamir Khan, with his production studio, introduced his own brand of social cinema in the early 21st century, blurring the distinction between commercial masala films and realistic parallel cinema, combining the entertainment and production values of the former with the believable narratives and strong messages of the latter. He has helped introduce parallel cinema to mainstream audiences, with his films earning both commercial success and critical acclaim in India and overseas. Global discourse During the formative period of Indian parallel cinema in the 1940s and 1950s, the movement was influenced by Italian cinema and French cinema, particularly by Italian neorealism as well as French poetic realism. Satyajit Ray particularly cited Italian filmmaker Vittorio De Sica's Bicycle Thieves (1948) and French filmmaker Jean Renoir's The River (1951), which he assisted, as influences on his debut film Pather Panchali (1955), alongside influences from Bengali literature and classical Indian theatre. Bimal Roy's Do Bigha Zamin (1953) was also influenced by De Sica's Bicycle Thieves. The Indian New Wave also began around the same